Albany Jazz Big Band: Moonlight Rhapsodies

Even though "road bands" are by and large a relic of the distant past, big bands continue to persevere and perform in cities across the country, from Los Angeles to Chicago, Dallas to Atlanta, and even in Albany, California, a pocket-sized city on the eastern shore of San Francisco Bay whose population is only slightly more than 20,000.

The Albany Jazz Big Band, now almost 30 years old, entered a studio in June 2024 to record its first full-length album, Moonlight Rhapsodies, a compilation of mostly classic songs from the Swing and Big Band eras to more contemporary themes ("Spinning Wheel," "Shallow"). The term "full-length album" deserves further comment, as its playing time is 38 minutes, rather spare for a compact disc. Be that as it may, it is what the band accomplishes in those 38 minutes that tips the scale—and it is here, alas, that the report card is less than impressive, meanwhile keeping in mind that the band is doing the best it can using the resources at its disposal. Best to start at the beginning, with Neal Hefti's jazz standard, "L'il Darlin," which should never be taken at a slower tempo than that of the Count Basie Orchestra, which introduced the song in 1958. Anything less and it drags instead of swings, which is the case here. Kate Geraghty sings on "Too Close for Comfort" and with Richard Kalman on "Spinning Wheel" and "Shallow." As with the band, they are doing the very best they can, but as nothing more positive than that can be said, a return to the instrumentals is in order, starting with the Stan Kenton staple, "Here's That Rainy Day," again performed at a tempo that plods rather than swings, negating the best efforts of an unsteady trombone section and unnamed trumpet soloist.

Jimmy Forrest's "Night Train" goes off-track quickly, revealing as it does rather large gaps in the band's unison passages, as does the ballad "My Foolish Heart," on which the trombone section tries valiantly to redeem itself while another unlisted trumpeter delivers a brief but decent solo. Vincent Youmans / Gus Kahn's "The Carioca" is another bridge too far for the band, as is Louis Prima/Benny Goodman's thundering classic, "Sing, Sing, Sing," although drummer Kelly Ralston is at least respectable.

Although this is one of those times when one wishes a review could be more favorable, it is what it is. The Albany Jazz Big Band has no doubt poured its heart and soul into its first-ever recording, and it is painful to report that what it has to offer is, in customary big-band terms, rather less than inspiring. On a more positive note, the ABB has been making music to the best of its ability for almost 30 years, and any big band that is alive and kicking these days deserves a tip of the hat and a hearty round of applause. That is what the Albany Big Band should take pride in and embrace. And it is with that thought in mind that the ABB should be appraised, weaknesses notwithstanding.